The Anti-conceptual Writing of Baudelaire the philosopher －With a Focus on his Fine Art Critiques－

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.

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LEXICO-SEMANTIC ASPECTS: NATIONAL APPLIED AND FINE ART TERMS

Journal of Critical Reviews ◽

10.31838/jcr.07.04.87 ◽

2020 ◽

Vol 7 (04) ◽

Keyword(s):

Fine Art

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FINE ART DISCOURSE IN STRUCTURE OF Yu. DOMBROVSKY’S NOVEL “FACULTY OF UNNECESSARY KNOWLEDGE”

HUMANITARIAN RESEARCHES ◽

10.21672/1818-4936-2018-66-2-115-120 ◽

2018 ◽

Vol 66 (2) ◽

pp. 115-120

Author(s):

Anna A. Borovskaya ◽

◽

Arman R. Kubeev ◽

Keyword(s):

Fine Art

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INVISIBLE MATTER OF FINE ART

10.22501/rc.54658 ◽

2013 ◽

Author(s):

Zygmunt Piotrowski

Keyword(s):

Fine Art

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INTEGRATING FINE ART AND SCIENCE TO BETTER UNDERSTAND THE WHITE RIVER BADLANDS

10.1130/abs/2020se-345315 ◽

2020 ◽

Author(s):

Katherine Mickle ◽

◽

Patrick Burkhart ◽

Paul Baldauf ◽

Jason Hilton

Keyword(s):

Fine Art ◽

Art And Science ◽

White River

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Art, Craft, and Theology in Fourth-Century Christian Authors

10.1093/oso/9780198848837.001.0001 ◽

2020 ◽

Author(s):

Morwenna Ludlow

Keyword(s):

Fourth Century ◽

Detailed Examination ◽

Fine Art ◽

Active Response ◽

Gregory Of Nyssa ◽

Starting Point ◽

Shared Practice ◽

John Chrysostom ◽

Literary Techniques ◽

Applied Arts

Ancient authors commonly compared writing with painting. The sculpting of the soul was a common philosophical theme. This book takes its starting-point from such figures to recover a sense of ancient authorship as craft. The ancient concept of craft (ars, technē) spans ‘high’ or ‘fine’ art and practical or applied arts. It unites the beautiful and the useful. It includes both skills or practices (like medicine and music) and productive arts like painting, sculpting, and the composition of texts. By using craft as a guiding concept for understanding fourth-century Christian authorship, this book recovers a sense of them engaged in a shared practice which is both beautiful and theologically useful, which shapes souls but which is also engaged in the production of texts. It focuses on Greek writers, especially the Cappadocians (Basil of Caesarea, Gregory of Nazianzus, and Gregory of Nyssa) and John Chrysostom, all of whom were trained in rhetoric. Through a detailed examination of their use of two particular literary techniques—ekphrasis and prosōpopoeia—it shows how they adapt and experiment with them, in order to make theological arguments and in order to evoke an active response from their readership.

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